p.1
Embodied Spectatorship in Film
What does cinema fail to provide according to Gilles Deleuze?
The presence of the body.
p.16
Mimesis and Tactile Epistemology
What does the 'skin of the film' refer to in the context of symbolic production?
It refers to the embodied and mimetic moments where the speaker's body connects with the text, enhancing its meaning.
p.1
The Relationship Between Body and Perception
What technique does Beharry use to create a tactile experience in her video?
She superimposes a sharp-focus image of her portrait on the sari's folds.
p.19
Mimesis and Tactile Epistemology
What is Merleau-Ponty's concept of 'indirect language'?
It brings listeners into contact with 'brute and wild being' through a mimetic relationship between the body and the word.
p.10
Critique of Ocularcentrism in Visual Culture
What does Yau Ching's work suggest about visual experience?
It points to the possibility of less ocularcentric ways of seeing.
p.1
Mimesis and Tactile Epistemology
What does Beharry mean by wanting to 'squeeze the touchability out of the photo'?
She aims to collapse the difference between seeing and touching.
p.19
The Relationship Between Body and Perception
How does the author view sensory experience in relation to culture?
Sensory experience is presymbolic but still cultivated and learned at the level of the body.
p.19
Critique of Ocularcentrism in Visual Culture
What is the significance of perception in the context of cinema?
Perception is informed by culture, making even illegible images cultural perceptions rather than raw sensations.
p.19
Embodied Spectatorship in Film
How is film perceived according to the theory of embodied visuality?
Film is grasped through the complex perception of the body as a whole, not just through intellectual analysis.
p.19
Embodied Spectatorship in Film
What premise do theories of embodiment start with?
Our bodies are sources of meaning, not just passive objects inscribed with meaning.
p.18
The Role of Touch in Memory Encoding
What do theorists descended from Marxism and phenomenology tend to overlook about sensuous knowledge?
They tend not to acknowledge that sensuous knowledge is cultivated.
p.5
Critique of Ocularcentrism in Visual Culture
What critique is discussed regarding visuality?
Visuality has been blamed for various evils, particularly in the context of capitalism and consumerism.
p.5
Critique of Ocularcentrism in Visual Culture
What turning point is mentioned in the critique of visuality?
The reconsideration of vision as instrumental and noninstrumental.
p.2
Critique of Ocularcentrism in Visual Culture
What do stills 45, 46, and 47 represent?
They are visual elements from the work 'Seeing Is Believing'.
p.4
The Role of Touch in Memory Encoding
What sensory experience does Tajiri's mother primarily recall?
A tactile memory of heat and coolness of water.
p.16
The Role of Touch in Memory Encoding
What are the two kinds of memory distinguished by Bergson?
Memory images and modifications of the body.
p.4
The Role of Touch in Memory Encoding
What does Leslie Devereaux describe in her writing?
The experience of wearing a tight woven belt by Zina-canteca women.
p.12
Mimesis and Tactile Epistemology
What does the skin of the film represent for someone who has suffered greatly?
It mimics the vision of someone who shields herself from perception, experiencing images in brief flashes before they are forgotten.
p.11
Critique of Ocularcentrism in Visual Culture
What metaphor is explored in Pam Tom's film 'Two Lies'?
The metaphor of impaired vision through a Chinese American woman's plastic surgery to widen her eyes.
p.12
Mimesis and Tactile Epistemology
What is mimesis in the context of tactile epistemology?
Mimesis refers to representing a thing by acting like it, based on material contact at a specific moment.
p.7
The Role of Touch in Memory Encoding
What has renewed interest among artists in recent years?
The tactile and other sensory capacities of their work.
p.7
Mimesis and Tactile Epistemology
What epistemology have scholars begun to posit based on the sense of touch?
An epistemology that challenges the privileging of vision.
p.3
The Influence of Capitalism on Sensory Experience
What metaphor is used to describe how a story bears the marks of the storyteller?
A story bears the marks of the storyteller much like an earthen vessel bears the marks of the potter’s hand.
p.12
Critique of Ocularcentrism in Visual Culture
What criticism might tactile epistemology face?
It may be regarded as unrigorous, romantic, or essentialist, similar to critiques of other forms of representation.
p.15
Mimesis and Tactile Epistemology
How does mimesis affect the relationship between subject and object?
It dissolves the dichotomy, allowing subjects to take on qualities of objects and vice versa.
p.17
The Role of Touch in Memory Encoding
What does sensuous knowledge imply according to Taussig?
A yielding and mirroring of the knower in the unknown, of thought in its object.
p.17
Mimesis and Tactile Epistemology
What alternative does Taussig align mimesis with?
A cultivated epistemology rather than a state of nature.
p.9
Intercultural Cinema and Sensory Experience
What is the title of the work by Jayce Salloum and Walid Ra’ad?
Talaeen a Junuub (Up to the South).
p.16
The Relationship Between Body and Perception
How does Bergson's 'Matter and Memory' contribute to the understanding of memory?
It suggests that memory is located in the body, but undervalues embodied memory.
p.10
Intercultural Cinema and Sensory Experience
What is the significance of the works mentioned in relation to intercultural experiences?
They address the complexities of visual representation in intercultural contexts.
p.6
The Relationship Between Body and Perception
What does the author suggest about a form of visuality that acknowledges its location in the body?
It seems to escape the attribution of mastery.
p.12
The Role of Touch in Memory Encoding
How do tactile epistemologies differ from traditional models of knowledge?
They conceive of knowledge as gained through physical contact rather than through vision.
p.6
The Concept of Haptic vs. Optical Vision
How does vision relate to the concept of 'alienation' from the body?
Vision is the sense most separate from the body, allowing perception over distances.
p.19
The Influence of Capitalism on Sensory Experience
What does the author argue about primitivist understandings of the senses?
They should be put to rest to explore what part of sensory knowledge is precultural and universal.
p.3
Mimesis and Tactile Epistemology
What does the disjunction between the visible and the verbal point to?
Meanings that lie between them.
p.3
The Relationship Between Body and Perception
How does cinema appeal to contact according to the author?
By engaging with embodied knowledge and the sense of touch to recreate memories.
p.12
Mimesis and Tactile Epistemology
What is the difference between indexical and iconic relations in mimesis?
Indexical relations are based on material presence, while iconic relations are based on resemblance.
p.15
Mimesis and Tactile Epistemology
What does mimesis allow us to do in relation to our world?
Understand our world and create or restore a transformed relationship to it.
p.13
Critique of Ocularcentrism in Visual Culture
What critique did William Morris have regarding capitalist culture?
It alienated close senses like touch and smell.
p.1
The Role of Touch in Memory Encoding
How does Shauna Beharry convey tactile memory in her work?
By using a still image of her mother’s sari and focusing on its details.
p.18
Mimesis and Tactile Epistemology
What do theorists believe about borrowing from other cultures in relation to mimetic knowledge?
They believe it helps to create a new language for mimetic knowledge that exists in a nascent form in the contemporary West.
p.16
Critique of Ocularcentrism in Visual Culture
How does Bergson view 'impulsive' bodily memory?
He considers it inferior to a more selective memory that is useful.
p.4
The Relationship Between Body and Perception
What does the woven belt symbolize according to Devereaux?
A complex of meanings and connections to various elements of life.
p.5
The Role of Touch in Memory Encoding
How are histories imprinted on bodies according to the text?
Histories are imprinted on bodies in a way that can only be translated imperfectly.
p.11
Critique of Ocularcentrism in Visual Culture
What is the focus of Tran T. Kim-Trang's 'Blindness Series'?
The use of visual technologies in objectification and surveillance.
p.6
The Role of Touch in Memory Encoding
What are the potential problems of a regime of knowledge dominated by tactility?
It would have ethical and epistemological problems and could hinder practical activities like driving.
p.8
The Role of Touch in Memory Encoding
What does Trinh T. Minh-ha suggest about visual knowledge?
One should not believe what they see but think of the image as a box whose contents must be inferred.
p.7
Critique of Ocularcentrism in Visual Culture
How do feminist theorists critique ocularcentrism?
By linking vision to distanciation from the body and objectification.
p.7
The Influence of Capitalism on Sensory Experience
What is the connection between visuality and social control noted by historians?
The structure of industrial societies and the reconfiguration of the senses.
p.12
Historical Context of Sensory Knowledge
What is the significance of mimesis in Western thought?
Mimesis is a foundational concept in Western philosophy, appearing in the works of Aristotle.
p.14
The Concept of Haptic vs. Optical Vision
What is 'sensuous similarity' as described by Benjamin?
Sensuous similarity describes correspondences between one’s body and the world that precede representation.
p.14
The Relationship Between Body and Perception
How does Benjamin view the mimetic relationship over history?
He suggests that the mimetic relationship need not be superseded by an 'adult' way of relating to things.
p.17
Historical Context of Sensory Knowledge
What longing do Taussig and Buck-Morss hint at regarding mimesis?
A prelapsarian longing for a time when the senses were not alienated.
p.10
Critique of Ocularcentrism in Visual Culture
What do uninformative shots of damaged buildings challenge in viewers?
They challenge viewers' desire to read the truth of the Palestinian and Lebanese conflicts from visual images alone.
p.9
Critique of Ocularcentrism in Visual Culture
What do the works mentioned critique about Western images?
They critique images that derisively dismiss the Palestinian struggle and the Lebanese war.
p.18
Mimesis and Tactile Epistemology
What does Merleau-Ponty argue regarding mimetic knowledges?
He argues that humans have never ceased to cultivate mimetic knowledges.
p.16
Intercultural Cinema and Sensory Experience
What shift does Benjamin make in relation to Bergson's hierarchy of memory?
He begins to value children's mimetic capacities, suggesting a different understanding of memory.
p.4
The Relationship Between Body and Perception
What does Devereaux suggest about the existence of the woven belt?
It has no separate existence apart from its web of non-belt elements.
p.5
Embodied Spectatorship in Film
What is emphasized in the discussion of cinematic viewing?
The multisensory quality of perception involving all senses.
p.11
Mimesis and Tactile Epistemology
What unique visual approach does 'Aletheia' employ?
It invites a kind of vision that spreads over the surface of the image instead of penetrating into depth.
p.6
Embodied Spectatorship in Film
What is suggested as an ideal alternative to the modern sensorium skewed in favor of distance?
A configuration of the senses that values information perceived within the body and at various distances.
p.6
The Concept of Haptic vs. Optical Vision
What capabilities does vision possess according to the text?
Vision is capable of perceiving information at close, middle, and far distances.
p.8
Intercultural Cinema and Sensory Experience
What themes do Masayesva's works like 'Itam Hakim Hopiit' explore?
They represent Hopi life obliquely and protect sacred activities from outsiders.
p.8
Critique of Ocularcentrism in Visual Culture
What did the Black British workshops Black Audio and Sankofa critique?
The complicity of visual knowledge with official discourse.
p.7
Intercultural Cinema and Sensory Experience
What do critics like Trinh T. Minh-ha and Fatimah Tobing Rony argue about Western visuality?
That it objectifies others and isolates the self from others.
p.13
Historical Context of Sensory Knowledge
What did the Frankfurt School critics observe about representation?
An increasing process of abstraction stemming from Enlightenment science.
p.15
Critique of Ocularcentrism in Visual Culture
What is the relationship between mimetic and symbolic representation?
Mimetic representation is a more fundamental source of meaning, related like the inside of a glove to its outside.
p.17
The Relationship Between Body and Perception
What does Buck-Morss hope for regarding the rediscovery of mimesis?
That it might inform a nonalienated consciousness.
p.9
Critique of Ocularcentrism in Visual Culture
What do the filmmakers of Black Audio and Sankofa suspect about images?
They suspect the image’s complicity with official racist discourse about Blacks in Britain.
p.19
The Role of Touch in Memory Encoding
What does Steven Shaviro attribute to sensation?
A raw state that affects individuals violently and viscerally without a frame of reference.
p.9
Embodied Spectatorship in Film
What visual technique is used in the works discussed?
Blurry images shot from moving cars.
p.3
The Concept of Haptic vs. Optical Vision
What does the switch between haptic and optical vision describe?
The movement between a relationship of touch and a visual one.
p.16
The Influence of Capitalism on Sensory Experience
What does the term 'mimetic knowledge' imply in the context of cultural practices?
It refers to the knowledge cultivated through imitation and embodied experience, often overlooked by outsiders.
p.16
Historical Context of Sensory Knowledge
How did European colonists perceive African practices according to the text?
They dismissed them as fetishism, failing to recognize the cultivated mimetic knowledge.
p.5
Critique of Ocularcentrism in Visual Culture
How does the text differentiate between optical images and haptic images?
It states that the haptic image falls under Deleuze’s category of optical images.
p.11
The Role of Touch in Memory Encoding
What does the opening shot of 'Aletheia' feature?
A piece of Braille writing.
p.11
The Relationship Between Body and Perception
What condition do the Cambodian women in 'Ekleipsis' suffer from?
Hysterical blindness related to their experiences with the Khmer Rouge regime.
p.14
The Relationship Between Body and Perception
What is the significance of sensuous knowledge according to the Frankfurt School critics?
Sensuous knowledge is valued as a reservoir of nonalienated experience.
p.17
Mimesis and Tactile Epistemology
What does the Memory of Touch suggest about cultures and mimesis?
Some cultures retain the mimetic faculty that has been devalued in the West.
p.8
Embodied Spectatorship in Film
What is the significance of the works produced by Black Audio and Sankofa?
They interrogated the visual archive for what it could not tell.
p.15
The Relationship Between Body and Perception
What is the nature of being in the world according to mimesis?
It involves compassionate involvement rather than abstraction from the world.
p.7
The Relationship Between Body and Perception
What do these works encourage viewers to do?
Engage more actively and self-critically with the image.
p.1
Critique of Ocularcentrism in Visual Culture
What metaphor does Deleuze use to describe cinema's effect on perception?
It spreads an 'experimental night' or a white space over us.
p.4
The Role of Touch in Memory Encoding
How is tactile memory encoded in the film?
Through image and the sound of running water.
p.6
Critique of Ocularcentrism in Visual Culture
What is the main focus of the project discussed in the text?
To open up visuality along the continua of the distant and the embodied, and the optical and the haptic.
p.5
The Role of Touch in Memory Encoding
What does the traditional form of Teca life witness?
It witnesses the histories imprinted on Zinacanteca women's bodies.
p.3
The Role of Touch in Memory Encoding
How may memory be encoded according to the text?
In touch, sound, and perhaps smell, more than in vision.
p.3
Embodied Spectatorship in Film
What creates an awareness of the missing sense of touch in cinema?
The disparity between the searching movements of the camera and the wistful voice on the soundtrack.
p.18
Critique of Ocularcentrism in Visual Culture
What mistake do Eurocentric theorists make regarding the proximal senses?
They think that because touch, taste, and smell are not valued in Western cultures, they are outside culture in general.
p.5
Intercultural Cinema and Sensory Experience
What is the focus of the exploration in the chapter?
How audiovisual media evoke multisensory experiences within their constraints.
p.14
The Influence of Capitalism on Sensory Experience
What do Horkheimer and Adorno argue about capitalism?
They argue that capitalism enables the domination of nature and others to an unprecedented degree.
p.11
Embodied Spectatorship in Film
How are the images presented in 'Ekleipsis'?
They cycle by in brief intervals, separated by fades to white.
p.14
Mimesis and Tactile Epistemology
How do Horkheimer and Adorno define mimesis?
Mimesis is a form of yielding to one’s environment rather than dominating it.
p.17
Mimesis and Tactile Epistemology
Who historicizes the notion of mimesis as a form of knowledge?
Taussig, by analyzing non-Western cultures like the Cuna Indians.
p.7
Critique of Ocularcentrism in Visual Culture
What critique do intercultural filmmakers often embed in their work?
A critique of ethnographic visuality that objectifies non-Western cultures.
p.17
Critique of Ocularcentrism in Visual Culture
How do Horkheimer and Adorno compare mimesis to the death instinct?
They see it as a willingness to merge back with nature.
p.15
The Role of Touch in Memory Encoding
What did Derrida emphasize about the production of speech?
The sensual basis of philosophy and the tactile nature of speech production.
p.4
The Role of Touch in Memory Encoding
What image is significant in Rea Tajiri's 'History and Memory'?
The image of the woman filling the canteen.
p.9
Intercultural Cinema and Sensory Experience
What is a common theme in the works mentioned regarding representation?
They suspect the ability to represent the Middle East in a Western context.
p.1
Embodied Spectatorship in Film
How does the viewer's experience change while watching Beharry's tape?
The viewer's vision is used as though it were a sense of touch.
p.6
The Relationship Between Body and Perception
Why is a certain degree of separation from the body necessary?
To allow our bodies to function effectively in the world around us.
p.6
The Relationship Between Body and Perception
What does Drew Leder argue in 'The Absent Body'?
A certain degree of 'alienation' from our bodies is crucial for functioning.
p.3
Critique of Ocularcentrism in Visual Culture
What dilemma occurs when expressing memories in cinema?
Words, sounds, and images can trap as much as they free, preventing the expression of something else.
p.12
Mimesis and Tactile Epistemology
What does the term 'mimesis' derive from?
It comes from the Greek word 'mimeisthai,' meaning 'to imitate.'
p.12
Mimesis and Tactile Epistemology
How does Erich Auerbach describe the relationship between a reader and a text?
He describes it as a lively and responsive relationship where each retelling sensuously remakes the story in the listener's body.
p.5
Intercultural Cinema and Sensory Experience
What does the text suggest about intercultural cinema?
It has good reason to push media beyond their audiovisual bounds.
p.13
The Relationship Between Body and Perception
What did Marx argue about modern individuals and their senses?
They experience alienation from their labor, body, and senses.
p.14
Embodied Spectatorship in Film
What does the 'Artwork' essay imply about aura?
Aura is the material trace of prior contact, indicating a co-presence between viewer and object.
p.15
The Role of Touch in Memory Encoding
What did Roger Caillois say about mimicry?
It is an 'incantation fixed at its culminating point' due to the traces left by contact.
p.17
Critique of Ocularcentrism in Visual Culture
What caution does Susan Buck-Morss express regarding mimesis?
She notes that mimesis can shelter individuals from the shock of the world, leading to alienation.
p.18
The Influence of Capitalism on Sensory Experience
What is the current Western cultural longing evident among scholars and artists?
A desire to rediscover sensuous knowledges.
p.18
Critique of Ocularcentrism in Visual Culture
What is the perceived need for mimetic visuality a reaction to?
Several centuries of European ocularcentrism.
p.18
The Relationship Between Body and Perception
How do cultural traditions that do not separate vision from the body differ in their need for visuality?
They have less need to deconstruct and reimagine visuality.
p.13
The Role of Touch in Memory Encoding
How does Bergson's theory relate memory to mimesis?
Both are mediated by the body.
p.13
Mimesis and Tactile Epistemology
What does mimesis presume about the relationship between the world and signs?
A continuum between actuality and the production of signs.
p.13
Critique of Ocularcentrism in Visual Culture
What is the relationship between mimetic representation and symbolic representation?
Mimetic representation exists on a continuum with more symbolic forms.
p.11
The Role of Touch in Memory Encoding
What do the images in 'Ekleipsis' symbolize for the Cambodian women?
Jewelry and watches symbolize what they hid during their escape from the Khmer Rouge.
p.14
The Role of Touch in Memory Encoding
What does Benjamin suggest about aura?
Aura entails a relationship of contact or a tactile relationship.
p.8
The Influence of Capitalism on Sensory Experience
What recent works begin their historical excavation with suspicion of the image?
Videos about Palestine and Lebanon.
p.14
Mimesis and Tactile Epistemology
What did Benjamin value about children's ability to relate to things?
He valued their ability to relate to things mimetically.
p.17
The Influence of Capitalism on Sensory Experience
What does Buck-Morss argue about perception in modern capitalist times?
Perception shields the body from experience instead of allowing sense experience to flow into the body.
p.13
The Influence of Capitalism on Sensory Experience
What societal tendency influences the symbolic nature of contemporary representation?
The capitalist tendency to render meanings as easily consumable signs.
p.11
Intercultural Cinema and Sensory Experience
What does the pineapple symbolize in the context of 'Ekleipsis'?
It symbolizes the Khmer Rouge, representing the idea of having eyes everywhere.
p.17
Mimesis and Tactile Epistemology
How does Taussig view knowledge in relation to bodily mimesis?
He believes knowledge is more dependent on bodily mimesis than conventional Western science acknowledges.
p.13
Historical Context of Sensory Knowledge
How does the separation of subject and object in representation relate to historical texts?
It originates in periods of territorial expansion, as seen in Homer and the Rig-Veda.
p.15
Embodied Spectatorship in Film
What did Merleau-Ponty say about words charged with philosophy?
They open upon being rather than just containing what they say.
p.7
Embodied Spectatorship in Film
How do some films and videos challenge the relationship between vision and knowledge?
By obscuring cultural views and suggesting important aspects are invisible.
p.15
The Concept of Haptic vs. Optical Vision
How did Benjamin describe language in relation to mimesis?
As the highest form of the mimetic faculty, drawing close enough to its object to ignite meaning.
